In a previous article, I explained the Pure Minor Scale in both relative and parallel position. I shared my favorite scale positions along with the resulting tonalities. If the reader has not yet read that particular article, I urge him/her to do so now before exploring my next few articles about minor tonality.
In my opinion, the language of music is every bit as important as the mechanics of music. Understanding the theory behind one's musical movement is essential to the tonal quality of the movement itself. When performing, outcome is everything. It's all about the sound and how all the melodic and harmonic structures work together within a given tonality.
Very rarely in years past, have Pop/Rock players utilized the advanced principles of traditional minor key signatures. This is primarily due to the more simplistic tonalities used in Pop/Rock, i.e., triads, power chords and the almost exclusive use of diatonic major key signatures (of course, Jazz and very progressive music is exempt).
By understanding and utilizing minor principles, the guitarist will develop a much broader canvas on which to paint a musical picture. Therefore, this particular article is preparation for future articles. In the next few articles we will utilize the Natural Minor Scale (NM, sometimes referred to as, the Pure Minor Scale), the Harmonic Minor Scale (HM), the Melodic Minor Scale (MM), and the Jazz Melodic Minor Scale (JMM), and more. All of these scales, as well as several variations, are utilized in minor key signatures. We will also utilize specific harmonic structure (chords) that are specific to each minor tonality along with special usage chords, altered chords, and extended chords. Needless to say, a good solid mechanical facility is necessary in order to voice these scales and chords.
There are two very important issues which must be addressed when approaching the subject of minor key signatures.
First, an essential goal of a minor key signature is to differ or contrast with a major key signature. A minor tonality, in my humble opinion, sounds best when removed from any resemblance of its corresponding major key signature.
Secondly, deciding which scale to use (MM, HM, JMM, NM) and whether or not to play in Relative or Parallel minor is an important decision to make. For example, if a player was instructed to play in the key of A Minor, Relative to C Major, which scale would he or she use? HM, MM, NM, or JMM?
To make matters even more complicated, each scale individually has its own unique tonality (specific chords, etc.) The same potential problems pertain to Parallel Minor keys.
The next few articles contain language, theory, and mechanical demands that presume your knowledge of related subject matter. If the reader does not understand the basics of this subject matter, then please learn it.
In summation, each major key signature has two minor key signatures: Relative Minor and Parallel Minor. Any of the scales; HM, MM, NM, or JMM can be utilized in both Relative and Parallel Minor. Each scale, whether played Relative or Parallel has its own unique tonality (chords, chord groups, scales and scale formulas). Until next time practice, practice, practice.
2011 Michael E. Fletcher. All Rights Reserved Worldwide.
http://www.ultraguitarmethod.com/
Ultra Guitar Method is designed to place years of professional playing experience under your fingers in a very short amount of time thus, placing you light years ahead of the competition. All theoretical, technical, mechanical, and application principles contained in the method are designed exclusively for the guitar. Learning is made exciting and fun.
Visit the Ultra Guitar Method website today. Your future is now.
Article Source: http://EzineArticles.com/?expert=Michael_Fletcher
No comments:
Post a Comment